In search of structured models providing the allure and consistency of ratios one can experiment with various divisions related to the human perception of balance. Besides the ever-recurring (and thus threadbare and primitive) golden cut, Φ and the Fibonacci sequence there still is the vastness of combinations derived from the perception of the evolutionary development of organisms. Let us for turn to the theory of architecture and design in the context of psychology for a moment. As it turns out, some of the observations remain in the analogy to the adequacy of the dimensions of perception of the dimensions of objects, contours of objects and the proportion of body parts. Purists in the early twentieth century, including Le Corbusier, paid a special attention to these relations. Biological determinism actually seems to be a highly significant factor driving the development of aesthetic conventions. Reference to the widely accepted “ideal model” of female body proportion – waist to hip ratio of 0,(6) (i.e., 60:90 or 2:3) actually appears in various art works over the centuries, despite actual fashion – one can find it in the ratio of the curvature of arcs or “construction lines” that one could find the image or within the structure of a designed object. Statistically, more people perceive such dimensions considering them to be “more appropriate” than others (obviously unaware of the reasons behind). In many cases, physiological analogies provide functionality and coherence and on the one hand, they are strengthening the mechanistic model of a human being, on the other hand they act as a symbolic, pantheistic appeal to the primordial vitality and omnipresent expansion of nature.
NERI OXMAN: DESIGN AT THE INTERSECTION OF TECHNOLOGY AND BIOLOGY
Someone could of course cursorily question my statements because I refer to the biological basis, mechanisms of perception and to sexual preferences while supporting progressive cybernetization and artificial augmentation of living organisms. Then I wish to remind you that at this moment I think that humanity is going to make a transfer of life into the virtual reality and transform into a hybrid species of cyborgs. Still, at the present time sensations are the basis of our perception of reality. Even in the hypothetical situation in which sexual intercourse in general is no longer needed for procreation at all, it does not lose its second, and in my opinion the most important role as a medium for non-verbal, haptic and chemical communication. However, if it will be the other way around, this assumption will have to be modified adequately.
A good example of this is for example the commonness of bisexuality among the animals (tendencies documented in cases of more than 400 species). Dolphins for instance, who are famous for their fanciful love practices, when engage in life-long relationships it is in most cases with partners of the same sex. Copulation aimed at procreation occurs almost exclusively in temporary relationships. The complex behavior of female Kob antelopes living in a homosexual herds is also interesting. The females confront with males exclusively during the mating season, after which they return to their regular, same-sex partners. These females often compete against each other over the possibility of copulation with other representative of the same sex.
Creating art is working on the project, following in the chosen direction, but it must be only the actions on the border of one’s capabilities and knowledge, it must be exploration of the unknown. The situation looks similar in any the case and form of development – without at least a partial opening to acceptance of loss of the control at some point, the discovery of anything new becomes simply impossible. Art occurs only near the borderline. Only there, acting in the face of the extremes one can attain real change, development, growth and transgression. It is not about the category of novelty, it is about insightfulness and revealment. Otherwise, we are dealing with pure craftsmanship, how to sophisticated it would not be. The creative process is a phenomenon of an extreme sensual density of existence in space.
ART OCCURS ONLY NEAR THE BORDERLINE. ONLY THERE, ACTING IN THE FACE OF THE EXTREMES ONE CAN ATTAIN REAL CHANGE, DEVELOPMENT, GROWTH AND TRANSGRESSION. IT IS NOT ABOUT THE CATEGORY OF NOVELTY, IT IS ABOUT INSIGHTFULNESS AND REVEALMENT.
Polyscopy, multimodal and interdisciplinary approach, poliperspective logic and reflection running in many dimensions simultaneously are of extreme importance because they allow us to clarify the observations by providing more correlated data while increasing the volume of the semantic space through broadening or focus.
PAWEŁ JANICKI: OCEANUS
It should also be spoken out loud that restricting the work of art to one discipline is in a current world simply unethical. Multidisciplinary approach and high complexity are just necessary. An effective reconciliation of the two requires high specialisation and synergistic system of work. It’s time to say goodbye to the traditional thinking about the authorship of the work. I think that is the future of art means teams, networks of artists in cooperation, clothing designers, scientists and specialists of all sorts. The organization of this kind of work would resemble some architectural office. The main artist introduces the concept which then triggers a number of further procedures and acts aimed at the most efficient realization of the project. Utility at maximum complexity, the expansion of art into all areas of life of a robotized society in which it will have much more space than today.
I agree with the young polish composer Monika Szpyrka, who pays a great attention to the artist’s clothing style and general appearance. For instance, she points out the coherence of dressing style and the post-internet, musical aesthetics of Jagoda Szmytka. Such a swag is a strong argument authenticating (at least to some extent) her work. For the survival and promotion the package it is as important as the content.